no, it’s because michael govan doesn’t think commercial films should be shown at a museum. Which is why he gutted lacmas previously exceptional programming.

Unfortunately when the academy partnered with lacma, he also killed all of their even more unique programming.

But when he destroys one of the most iconic buildings by one of LAs most famous and prolific native architects and replaces it with his proposed Mayan fortress of solitude I’m sure govan will be properly celebrated then. :-/

I had hoped that UCLA would get this retrospective because they respect the medium at least.

FWIW, Liv Ullman will be appearing tonight (at Shame) and tomorrow afternoon (The Passion of Anna) at Film Forum in NYC. They're probably sold out but there's always stand-by tickets if you're willing to wait a while and get there early.

The standby line is held outside the theater. The weather is awful today, downpour and high winds, which will no doubt affect the amount of people willing to wait.

In Los Angeles, The american Cinematheque is rescuing the Bergman retrospective from LACMA and Govan's inadequate programming.

In may, between the two theatres, they'll be showing 23 of the films, mostly in double features with the Faith Trilogy shown as a triple feature.

http://www.americancinemathequecalendar ... ar/2018-05

the programming seems moderately strange, but other than the Faith trilogy, every double feature includes at least one film in 35mm, always the first feature, which probably helps attendance given the recent loud fetishizing and romanticizing of that format amongst repertory patrons.

UCLA is showing Fanny and Scenes From a Marriage in June. I could've sworn they showed
The Touch about 10 years ago with Elliott Gould in person. I'm disappointed that no film Bergman was a screenwriter-only on is showing as part of this. However, about half of them are in 35mm, which is great.

Mentioned on the previous page, but Cold Water is now touring / has a page on the Janus site, with press book /stills (no poster up yet).

The Salesman touring page (on the frontpage) was already taken down. Guess it was a short tour.

FilmStream.org is honoring Janus and Criterion. Alexander Payne sits on the board of of Film Stream and will do a q&a with Becker. (hoping for more Payne in the Collection)

Not sure if this has been mentioned, but it looks like Janus Films now has Gillian Armstrong's My Brilliant Career. A new DCP of the film debuting at this year's TCM Festival comes courtesy of Janus.

My Brilliant Career is a beautiful film and would be a great addition to the Criterion Collection. I already own the Blue Underground OOP Bluray, but I think it has room for improvement considering today's technologies.

Janus just tweeted this photo

Irma Vep!


Sent from my iPhone using Tapatalk

Wish they'd tweeted out this instead

Damn... I was just about to buy the Arrow. Now... should I wait another year or more and wait for the Criterion?

Janus is tweeting about Come and See.

After Tarkvosky's Stalker, that's been my dream release for 15 years.

Agreed. Ever since I heard about Come and See (although the time has been nowhere close to 15 years), I've been wanting to watch it.

To tide you over until it's released, consider reading The Painted Bird. It has a fairly similar plot (young boy traverses across a desolate WWII landscape and encounters various horrors along the way) and an equally haunting tone.

Film's great, and they haven't released one of their initial Criterion-branded FilmStruck titles since Meantime and Stalker.

I don't have a FilmStruck account, but I do know they posted about it on their website (and it screened at Cannes 2015), but hopefully Welcome, or No Trespassing is paired with it.

I watched come and see last week on FilmStruck actually, it definitely looked like upscale SD.

The restoration played last year (at Cannes? Maybe Venice?), so I'd not be surprised if Janus releases it theatrically late in the Summer and Criterion gets it out by the end of the year.

Haunting underrated masterpiece

Yes, it is a great film... and a very tough watch.
I recall a few years ago someone joking it’s the type of film Bergman would come out of the cinema saying, “Jesus, that was rough!”